Kurt Schwitters
23 Sep 2011 - 08 Jan 2012
Kurt Schwitters
Aq. 21. Anna Blume und ich., 1919
Aquarell, Farbstift auf Papier
21,1 x 17,2 cm
Kurt und Ernst Schwitters Stiftung, Hannover
© 2011, ProLitteris, Zürich
Aq. 21. Anna Blume und ich., 1919
Aquarell, Farbstift auf Papier
21,1 x 17,2 cm
Kurt und Ernst Schwitters Stiftung, Hannover
© 2011, ProLitteris, Zürich
KURT SCHWITTERS
Anna Blume and I
23 September, 2011 - 08 January, 2012
The Kunstmuseum Bern is presenting an exhibition of Kurt Schwitters’ (1887–1948) art in its manifold forms to the public. The show substantiates the fact that Schwitters goes way beyond being “just” the Merz artist who revolutionized collages by creating pictures using cuttings from newspapers, advertisements, and throwaway images. His works embrace many different styles, ranging from Dada through constructivism to virtually surrealist artistic statements.
The exhibition deepens the image we have of the Merz artist with a selection of around a hundred surprisingly diverse drawings stemming from private collections and from the artist’s bequest. Most of the artworks will be on public view for the first time in this exhibition . The sheets palpably illustrate decisive turning points in the artist’s career as well as his stylistic development: Schwitter’s path to abstraction around 1917 and his consecutive Dadaist experiments, his travel sketches and portrait studies during his exile in Norway and England from 1937 onwards, as well as key problems that preoccupied the artist in both his abstract compositions and his landscapes.
The exhibition gives an overall impression of the extremely varied nature of the artist's work, demonstrating how the Merz artist not only studied nature his lifelong to maintain and develop his practical proficiency in art but also drew from it as a source of inspiration and as a welcome guideline.
Anna Blume and I
23 September, 2011 - 08 January, 2012
The Kunstmuseum Bern is presenting an exhibition of Kurt Schwitters’ (1887–1948) art in its manifold forms to the public. The show substantiates the fact that Schwitters goes way beyond being “just” the Merz artist who revolutionized collages by creating pictures using cuttings from newspapers, advertisements, and throwaway images. His works embrace many different styles, ranging from Dada through constructivism to virtually surrealist artistic statements.
The exhibition deepens the image we have of the Merz artist with a selection of around a hundred surprisingly diverse drawings stemming from private collections and from the artist’s bequest. Most of the artworks will be on public view for the first time in this exhibition . The sheets palpably illustrate decisive turning points in the artist’s career as well as his stylistic development: Schwitter’s path to abstraction around 1917 and his consecutive Dadaist experiments, his travel sketches and portrait studies during his exile in Norway and England from 1937 onwards, as well as key problems that preoccupied the artist in both his abstract compositions and his landscapes.
The exhibition gives an overall impression of the extremely varied nature of the artist's work, demonstrating how the Merz artist not only studied nature his lifelong to maintain and develop his practical proficiency in art but also drew from it as a source of inspiration and as a welcome guideline.